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dc.contributor.author이경희-
dc.date.accessioned2018-03-09T08:41:01Z-
dc.date.available2018-03-09T08:41:01Z-
dc.date.issued2013-08-
dc.identifier.citation일본학보 The Korean Journal of Japanology, Aug 2013, 96, P.147-163en_US
dc.identifier.issn1225-1453-
dc.identifier.urihttps://www.kci.go.kr/kciportal/ci/sereArticleSearch/ciSereArtiView.kci?sereArticleSearchBean.artiId=ART001797914-
dc.identifier.urihttp://hdl.handle.net/20.500.11754/44500-
dc.description.abstractMt. Fuji as the ‘symbol of Japan’ began to receive domestic and international attention as it was appointed as a ‘world cultural heritage’ on June 22. In this paper, two aspects of ‘crisis of Mt. Fuji’ seen through special effect works of Japan and the meaning of its conclusion were discussed, examining the point of contact with Mt. Fuji, which was simultaneously approved for national symbolism and value as a world heritage.Since the past until present, Mt. Fuji has frequently appeared in TV dramas and films of Japan that used special effect techniques. This paper will focus on the five works. First is an old joint production film between Japan??Germany titled New Land(1937). Tsuburaya Eiji, the best special effect producer of Japan who founded the Tsuburaya Productions, participated in the film for special effect techniques. Next are two works of ‘Ultra Series’, a special effect TV drama that led the booming of special effect works in 1960s and 1970s, named SOS Mt. Fuji (1966.2.13 and Monster Standing on Mt. Fuji(1972.1.28). Lastly, two films based on an original work by Komatsu Sakyo, Sinking of Japan(1973) and its remake produced in 2006, were examined.These works have a common setting called ‘crisis of Mt. Fuji’ created by special effects. However, there are two contrasting aspects in the end: Mt. Fuji rescued from crisis (two works of ‘Ultra Series’ and the remake of Sinking of Japan) and Mt. Fuji not rescued until the end (New Land and Sinking of Japan(1973)). But interestingly, all works again share in common the fact that they ultimately end by showing ‘Japan that has not come to its end’. Yet, an important message can be seen here about national symbolism and global value of Mt. Fuji. That is, crisis of Mt. Fuji is not simply a disaster of Japan but a global disaster. In other words, peace of Mt. Fuji, the symbol of Japan, is led to peace of the world.The subject of ‘crisis of Mt. Fuji’ used in special effect works of Japan for over half a century is settling as a symbol of ‘eternal Japan’ and at the same time being extended as a discussion on global peace, regardless its end. This is connected to the current state of Mt. Fuji, which was officially acknowledged for its value as the symbol of Japan to be protected by the world.en_US
dc.description.sponsorship이 논문은 2012년 정부(교육과학기술부)의 재원으로 한국연구재단의 지원을 받아 수행된 연구임 (NRF-2012-2012S1A5B8A03034081)en_US
dc.language.isoko_KRen_US
dc.publisher한국일본학회en_US
dc.subjectSpecial Effect Worksen_US
dc.subjectcrisis of Mt. Fujien_US
dc.subjectNew Landen_US
dc.subjectUltra Seriesen_US
dc.subjectSinking of Japanen_US
dc.title특촬물로 본 ‘일본’과 ‘세계’의 후지산(富士山)en_US
dc.title.alternativeMt. Fuji of ‘Japan’ and ‘World’ Seen Through Special Effect Worksen_US
dc.typeArticleen_US
dc.relation.page147-163-
dc.relation.journal일본학보-
dc.contributor.googleauthorLee, Kyunghee-
dc.relation.code2012210683-
dc.sector.campusS-
dc.sector.daehakRESEARCH INSTITUTE[S]-
dc.sector.departmentEAST ASIAN CULTURE RESEARCH INSTITUTE-
dc.identifier.pidkhfor21c-
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RESEARCH INSTITUTE[S](부설연구소) > EAST ASIAN CULTURE RESEARCH INSTITUTE(동아시아문화연구소) > Articles
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